Olivia Wilson - Interior Project

qui DESIGN PROPOSAL

BAR AND RESTAURANT

PROPOSAL

Address: Lots 1 & 2 6 Bridge St Sydney

CLIENT: THE POINT - MAURICE TERZINI

SITE CONTEXT:

BRIEF:

The point is a hospitality group defined by their website as having

Located in Sydney CBD is 6 Bridge St, nestled between heritage

Qui is a place to be present and mindful. Combing a child like

“a vision brought to life by our obsession with people, product

and contemporary buildings that line Bridge street. Previously

creativity mixed with the sophistication and class of being a

and approach.” Noting their ambition to be bold, prideful and

used as a restaurant and bar. This four story heritage building

working professional. A place targeted at 20-39 year old’s can

memorable. They are involved with venues such as Bondi Beach

has plenty of potential. 6 Bridge St was built between 1884/1885

decompress the stresses and social anxiety portrayed onto us in

Public Bar, The Dolphin Hotel, Motel Mexicola amongst other with

originally being used as an insurance company by the name

our everyday life. Qui will be serving an array or tasty cocktails,

more hospitality venues opening up within the next coming year.

“Northumberland insurance”. The sandstone facade exhibits

fine wines and craft beers accompanied by good quality and

Another notable statement defined by their website is the

a Victorian Mannerist Style and whilst the outside has been

sustainably sourced seafood and Italian dishes. The menu is a

phrase “redefining the new normal” with their goal to express

kept in tact the inside has been modified a few times first

list of small plates intended to be shared and celebrated with

their “genuine opinion on the world, based on a vision which is

dating in 1955. The above stories have been used as office

friends. Bringing authenticity to the forefront throughout the

unwavering and unstoppable. They have created some of the

spaces with an additional 2 storey penthouse situated on top.

whole space.

best creative places in Sydney that always leave an impression.

With loud and bold interiors that take you away from any worries in the world and transform you to a place of excitement and fun.

“A VISION BROUGHT TO LIFE BY OUR OBSESSION WITH PEOPLE, PRODUCT AND APPROACH.”

HE DESIGNS THE DESIGNS THE DESIGN

wines

MENU COCKTAILS

SNACKS

17

SPARKLING

ORANGE 15 / 67

SALAMI

10

ROSE MARTINI

NV CIELO PROSECCO EXTRA DRY, VENETO,

CHORIZO

10

PASSIONFRUIT SPRITZ

ITALY.

PROSCIUTTO

12

SPICI MARGI

OCTOPUS

12

TOBLERONE

NV PERRIER-JOUET GRAND BRUT, EPERNAY,

FRESH PRAWNS

13

PASSION MARTINI

FRANCE

MUSSELS

13

MUD CAKE SLIDE

CALAMARI

12

ANCHOVIES

11

TRADITIONAL COCKTAILS

ASPARAGUS

8

APERAL SPRITS

OLIVES

8

NEGRONI

SUN-DRIED TOMATOES

9

MARGARITA

FRESH TOMATOES

8

OLD FASHIONED

BURRATA

8

MOJITO

2019 TWR – SAUVIGNON BLANC

GOATS CHEESE

8

AMARETTO SOUR

MARLBOROUGH, NEW ZEALAND

PECORINO

7

PORN STAR

GORGONZOLA

9

2019 CIU CIU ‘FALEIRO’ TREBBIANO PASSERINA 10 / 48

BREAD WITH BUTTER AND OLIVE OIL AND

7

LE MARCHE, ITALY (ORG, VG)

ZIBIBBO, RIVERLAND, SA 11 / 60

(PINOT GRIS, SEMILLION, CHENIN B.) MARGARET RIVER, WESTERN AUSTRALIA (ORG,

WHITE 15

2017 NGERINGA ‘GROWERS SERIES’

VG,N) 15 / 70

SAUVIGNON BLANC, ADELAIDE HILLS, SA

2019 VEJ MALVASIA DI CANDIA ITALY

90

EMILIA-ROMAGNA, (BIO, VG, N) 2019 FONTAVERA PINOT GRIGIO VENETO, ITALY 9 / 57 11 / 52

RED 2018 LAMURA NERO D’AVOLA SICILY, ITALY 2019 BABO CHIANTI SANGIOVESE TOSCANA,

BALSAMIC VINEGAR

FREIXENET, PINOT GRIGIO GARDA, ITALY

9 / 30

2020 MONSTERS, MONSTERS ATTACK!

10 / 50

15 / 70 14 / 70

ITALY (VG) 2019 AGENT PROVOCATEUR ‘GRENACHE

PLATTERS FOR TWO ANTIPASTO

2020 AMO VINO PELLE, VERMENTINO/GRECO/ 16 / 80

34 / 190 2020 BLIND CORNER ‘ORANGE IN COLOR’

12 / 70

FRONTIGNAC GEWURZTRAMINER’ MCLAREN VALE, SOUTH AUSTRALIA

25

SALAMI, PROSCIUTTO, CHORIZO, BREAD,

RIESLING CLARE VALLEY, SOUTH AUSTRALIA

2018 MOORILLA ESTATE ‘PRAXIS’ PINOT NOIR

SUNDRIED TOMATOES, OLIVES AND CHOICE

CLARE VALLEY, SOUTH AUSTRALIA

TAMAR VALLEY, TASMANIA

ROSE

2020 LITTLE BRUNSWICK WINE CO.

13 / 65

OF TWO CHEESES. CHEESE PLATE

25

GOATS CHEESE, BURRATA, PECORINO,

2018 L’ARNAUDE ROSE CINSAULT/GRENACHE/ 16 / 80

‘JARDWADJALI’ SYRAH GRAMPIANS, VICTORIA 14 / 69

CALADOC PROVENCE, FRANCE

(ORG, VG)

GORGONZOLA, PEACHES, DRIED APRICOT, NUTS AND BREAD.

2018 FARNESE FANTINI ROSÉ CERASUOLO,

9 / 45

SEAFOOD PLATTER

2019 IZWAY ‘ROB & LES’ SHIRAZ BAROSSA

78

VALLEY, SOUTH AUSTRALIA (BIO, VG)

ITALY 40

FRESH PRAWNS, FRESH OYSTER, MUSSELS,

2020 BREBAN L’ARNAUDE ROSÉ FRANCE

13 / 65

OCTOPUS, AND CALAMARI. All seafood is imported fresh from Sydney’s Fish Market. Feel free to ask one of our staff about any dishes and add ons for an extra

DESERTS TIRAMISU

13

price. Please let us know of any dietary requirements and we will

CANNOLI

12

do our best to assist you.

CONCEPT STATEMENT: Qui is Italian for the word “Here”. The name reminds us to be present and authentic in the moment and when we do that, our worries will be washed away. Having a place to decompress and be in the moment, accompanied by good food, fine wine, soft lighting and unmatched company. Qui celebrates creativity and mindfulness, creating a safe space that encourages us to let go of the status and social anxieties that are imposed on us in society today, for the best moments in life are the ones you don’t expect, the ones that just seem to happen…

Functionality Mood Board and Menu

material board

GROUND LEVEL FLOOR PLAN

GROUND LEVEL FLOOR PLAN

GROUND LEVEL FLOOR PLAN

ENTRY VIEW

GAMING AREA

BAR AREA

BAR AREA

BAR MATERIAL: The material is made from a clear resin which gives it this crumpled texture, behind it sits stainless steel to give the desired colour. Together they create a crumbled aluminum foil texture, inspired by Andy Warhol’s Factory.

Illuminated it highlights the metaphor of smoke and mirrors, bringing to the forefront that society is a hidden veil of misinformation and perpetrated lies portrayed onto us. The material reminds us to release these preconceived ideas and formulate our own truths and beliefs in the world, ones not influenced by preconceived expectations.

BOOTH SEATING Tu sei qui - You are here

MATERIAL BOARD

DINING AREA

DINING AREA

DINING AREA

TABLE COVER: Made from recyclable paper with the words “VANDALIZZARE QUI” which is Italian for “Vandalise here”. It encourages customers to draw on the table, communicate through writing or write down notes whilst enjoying beautiful authentic Italian food. This allows customers to access their inner creativity and express themselves in a surprising way. Due to the materiality, customers can easily tear off pieces if they wish to keep anything that they have drawn or written to take home with them. An alternative is to have the tables painted in a white chalk paint with a supply of chalk on each table to deliver the same affect.

DINING AREA

DINING AREA

DINING AREA

BAR AREA

SEATING UP STAIRS AND KITCHEN ELEVATIONS

DINING AREA

VENDING MACHINE: Vending machine will display disposable cameras available for customers to purchase. The concept of this feature is to highlight the feeling of being in the moment. There is nothing more pressent than being able to snap shot a photo right in the moment and not see through a screen what it will look like. this enables photos to be more natural and capture peoples emotions and autheticity. Brining this element of nostagia for our target market as well as reintrodusing a typically outdated form of media to the new generation.

STAGE

reliminary researchpreliminary r

SITE OBSERVATION Located in Sydney CBD is 6 Bridge St, nestled between heritage and contemporary buildings that line Bridge street. Previously used as a restaurant and bar. This four storey heritage building has plenty of potential. 6 Bridge St was built between 1884/1885 originally being used as an insurance company by the name “Northumberland insurance”. The sandstone facade exhibits a Victorian Mannerist Style and whilst the outside has been kept in tact the inside has been modified a few times first dating in 1955. The above stories have been used as office spaces with an additional 2 storey penthouse situated on top.

site analysis Surrounding area -Access from Dalley St and Bridge St - Mix of heritage and new modern buildings. Appendix 1 -Heritage buildings: 4 Bridge St, 11 Bridge St - Appendix 2 -Large over shadowing of buildings Appendix 3 -Dalley St acts as a wind tunnel -One of the smaller buildings in this street due to heritage nature.

-Wilson Car Parking via access on Bond St -Views surround the building but obstructions by taller buildings - Situated between Circular Quay station and Wynard Station Appendix 5 -800m from the Royal Botanic Garden Sydney Appendix 5 -Next to Bistecca (Entrance to Bistecca from Dalley St) Appendix 6 -EY building -Dalley St gives access to the building and Underwood St Appendix 7

- Windows only on North and South facing sides of the building -Surrounded area which houses a mix use of office and hospitality

Site

spaces as well as convenient stores, parks and wharfs

--North/South facing building. South facing on Bridge St (front)

-Surrounding hospitality venues includes, Bistecca, Mr. Wongs

North facing on Dalley St (rear)

Appendix 4, Fratelli Fresh, Republic Hotel & Taylors Rooftop Bar,

- Sandstone heritage facade Appendix 1

Establishment Bar

- Heritage doors and windows Appendix 1

- Light rail stop is close by and passes through George St

-Originally built in 1884/5

- Bus stop just down the road of Bridge St, Right of the building

- Symmetry and juxtaposition is used on the facade details -Intrusive Elements: Two story penthouse addition, rear addition

Materials

internal.

-Sandstone facade and surrounding buildings

-Air Conditioned: Yes Fire Stairs:1

-Red timber doors

-No vegetation around site

- Brass detailing

- ”Northumberland Insurance” Brass Signage on front facade

- Rough off white half rendered bricks on the inside

-Street name and number printed on the entrance door and

- Timber flooring

windows

- Timber exposed beams in the basement

-Entrance via Bridge St and Dalley St Appendix 6

- High ceilings on Street Level - Exposed ceiling on Street level with roof and ceiling equipment

Noise

in matte Black

- Noise from outside the site is fairly noisy but will not affect those

- Fully fitted chefs kitchen upstairs on Street Level

within the building - Noise from general traffic buses and light rail - Noise from site will need appropriate acoustics’s installed due to top floor of the building being occupied by a permanent residency.

(6/6 Bridge St)

Appendix. 1. View facing North shows front entrance on Bridge St and neighboring buildings.

Appendix. 2. 11 Bridge St shows surrounding heritage significance

Appendix. 4. Bridge Lane (West Facing) red arrow entrance to Mr. Wongs

Appendix. 5. Location of site and context of the distance to nearest train stations and the Royal Botanic Garden Sydney (Red Circles)

Appendix. 3. Shows the height difference in juxtaposed buildings and possible shading

Appendix. 6. Rear entrance Red arrow. Yellow arrow Bistecca

Site information Council: COUNCIL OF THE CITY OF SYDNEY

Acid Sulfate Soils Class 5

Lot number CP/-/SP67311

Climate Zone 5 - Warm temperate

Floor space ratio 8:1

Building Class Class 6

Land zoning B8 Height of building 55m Land Application Sydney Local Environmental Plan 2012

Demographic The city of Sydney is named the business capital of Australia. With

surrounding buildings include a bunch of offices and restaurants

a rich history of the beginnings of Australian settlement, world

such as, Mr. Wong’s, Tank Stream Bar, The Establishment, Republic

known landmarks such as The Sydney Harbour Bridge, Centre Point

Hotel and Taylors Rooftop and Palmer & Co. With a general theme

Tower and The Opera house, an abundance of diverse cultures,

of high-end bars and a stream of professionals walking past

a continuous rise of appreciation to the Aboriginal culture and a

the street each day there was one thing I saw that was missing,

large variety of various places to work or visit. The general buildings

a bar for creatives to let their hair down and be able to express

around 6 Bridge St are commercial with some surrounding

themselves truly. In most companies there is at least one if not a

residential high rises and apartments. The demographic according

few creatives that lead the graphic designing of marketing for the

to the 2016 census is of a median age of 30, 57.9% never married,

business and yet there aren’t many places locally in which they can

41.8% had a bachelor’s degree level or above, 51.2% worked full time,

have a few drinks and allow their creativity to be inspired. Most

27.1 % being professionals. From this we can conclude the majority

people have a creative hobby and we as humans love to create

demographic Is around 30 years old, unmarried professionals,

and explore and as such more places should encourage this.

working full time after completing university. The direct

NCC AND AUS STANDARDS NCC SECTION C FIRE RESISTANCE C.1.1 fire resistance levels for types of walls and columns influences what materials can be used

JV1 NABERS Energy for Offices Section J Energy efficiency A minimum 5.5-star NABERS Energy for Offices To be compliant as an office building or class 5 must have at least a 5 star rating from NABERS

Specification J1.2Material properties Thermal conductivity of materials to be taken into consideration to assume comfortable workspace affects

the use of materials to be chosen.

JV2 Green Star The standard needed for an office building to be compliant Part 3.2.3Concrete and reinforcing Consideration of the use of concrete and the reenforcement needed

Australians Standards AS 4256.3-2006 (R2018) In regards to general-purpose translucent and opaque glass fibre reinforced polyester sheets of flat, corrugated and other geometrical configurations intended for roof and wall cladding applications. Use of glass for board rooms and meeting rooms

NCC AND AUS STANDARDS AS 1288-2006 In regards to glass used in building, such as the strength and glazing AS 2663.1-1997 In regards to window furnishings such as curtains, certain materials are not allowed in a commercial dwelling AS ISO 11654-2002 (R2016) Acoustic sound absorbers and the ratings of sound absorption – helps take into consideration, understand and create an appropriate acoustic level in rooms

AS 4154-1993 To be taken into consideration if I plan to have a section of flooring elevated AS 1884-1976 Take into consideration the use of floor coverings such as cork, sealed finishes, rubber floorings.

AS 3730.27-2006 Consideration of clear coating on timber flooring is applicable AS/NZS ISO 140.7-2006 Acoustic consideration in regards to floors

NCC AND AUS STANDARDS Section D Access and egress D1.10 Discharge from exits Requirements of exits - clear exit paths, not blocking exit points

refurbishing the stairs or redoing the build of stairs.

D2.20 Swinging doors Which ways doors can swing and be placed – how to set out door swings Specification D3.6Braille and tactile signs Where and how to display braille and tactile signs

D1.13 Number of persons accommodated Defines spacing and spacial planning.

Table D1.13 Area per person according to use Bar standing

0.5 m2

Bar other

1 m2

Dance floor

0.5 m2

*( Covid - social distance measure is 1.5 m per person) D2.13 Goings and risers To take into consideration to meet requirements if

E1.4 Fire hose reels Where fire house reals need to be installed could affect design and spacial planning, need ease of access.

E1.5 Sprinklers Where sprinklers need to be installed could affect design and spacial planning.

E1.6 Portable fire extinguishers

NCC AND AUS STANDARDS Where Portable fire extinguishers need to be installed could affect design and spacial planning, need ease of access.

Specification E2.2a Smoke detection and alarm systems Where smoke detection and alarm systems need to be placed could affect design, spacial planning, and ease of access.

Part E4 Visibility in an emergency, exit signs and warning systems.

Where to place emergency exit signs and warning systems, best visibility and spacial planning could be affected.

Specification E4.8 Photoluminescent exit signs.

Viewing distance of photoluminescent signs like exit signs influences spacial planning.

F2.3 Facilities in Class 3 to 9 buildings Bathrooms regulations in class 6 buildings If not more than 10 people are employed, a unisex facility may be provided instead of separate facilities for each sex.

F2.4 Accessible sanitary facilities Requirements for accessible toilets Part F3 Room heights F3.1 Height of rooms and other spaces.

The minimum room heights used as a guide for planning and designing.

NCC AND AUS STANDARDS

Specification J6Lighting and power control devices Adjustments that can be made to illumination power density if applicable, such as the use of motion

Part J6 Artificial lighting and power How much lighting and power must be used in certain areas and with certain lights affects the types of lighting to be used.

Retail space including a museum and gallery whose purpose is the sale of objects Maximum illumination power density (W/m2)

22

Specification J1.2Material properties Thermal conductivity of materials to be taken into consideration to assume comfortable workspace affects the use of materials to be chosen.

detectors, programming, dimming and sensors.

Adjustments for light colours, other necessities required for light fixtures. affects lighting choices.

NSW H101.5.2 Small stages Regulations on small stages to be taken into consideration for the band room

Australian Standards AS 2118.2-2010 Sprinkler system requirements affects layout and planning.

NCC AND AUS STANDARDS AS 2663.2-1999 Textile suitable for window furnishings for commercial use affects the design and types that can be chosen from AS 1428.1–2009 Clause 6.5.1 Needing to make walkways accessible to wheelchair access corridor width of at least 1500x1500 so they can turnaround affects planning and size of walkways.

AS/NZS ISO 140.7-2006 acoustic consideration regarding flooring affects which flooring is best suitable.

Inside restaurant

Inside restaurant

View of outside facade

Stairs too underground bar

Underground bar

Underground bar

initial spacial planing

esearch research research rese

CASE STUDY ONE

77

77 William Street, Darlinghurst, 2010 NSW

77 Is a club in Sydney that has history of hosting legendary late

lights and news papered roofing to hide the low ceilings and

night dance parties for over 20 years (The Urban List). Hosting

beams mixed with this old art deco grime feel truly encompasses

local and international DJ’s, the uniqueness of 77 is that they

the celebration of history and love of underground culture. Not

allow the headlining DJ’s to programme the DJ sets. This allows

only is this club a vibrant and fun charactered place to dance

a seamless and transitional performance throughout the night

the night away but from Wednesday to Sunday you can enjoy

to occur. Giving the DJ’s freedom in this way ensures that the

some pub styled food for dinner too. This is definitely a place to

DJs before the headliners are actually warming up and enticing

visit in Sydney if you enjoy dimly lit moody interiors with some

people for what’s to come, instead of having two completely

very cool with unique art and picture fame placing, some smooth

different sounding DJ’s in the one night which can feel less

transitioning DJ’s, and grubby greasy food.

complimentary and jarring. The club itself was once grimy but popular nightclub under the name club 77 which has now been revamped and called 77. The club nowadays still reminiscent of what it used to be but has added a long winding 40-set bar and red neon leather booths throughout (The Urban List). Red neon

My inspiration from this comes in the form of celebration of difference. I admire the way the club has been able to combine old and new to create something unique and transcend this very edgy welcoming environment. Whilst it is a club there is still a plethora of seating which as a customer I would highly appreciate as with a large bar area meaning if fully staffed should be fairly easy to get drinks at.

CASE STUDY TWO

untitled bar ADDRESS

Untitled bar houses cocktails from the one and only Tony Conigliaro. With his alchemist approach to cocktail making is his standout technique using blow torches, vacuum distillation and delicately crafting there is no wonder he has a large and loyal fan base. The specific spot in Dalston, England is inspired by Andy Warhol’s factory with crinkled foil walls, polish concrete and large blown-up pieces of the human body, that to the unknown eye look lie moulded clay. It truly creates a matured, sleek, and elegant space. Warm lighting reflects off the foil to make the space feel more intimate and cosier contrasting the cold harsh elements of concrete and foil. whilst also complimenting the pieces of art matching the colour tone of the human body.

Black accented metal and grayscale framed pictures of babies and portraits contrasted with creamy white leathered stools, the

place oozes of expressionism, freedom, and acceptance.

Not only is the cocktail bar soothing and inspiring to look at they also house a Japanese inspired courtyard called the Moon Garden. With pebbled flooring, white rendered tables, stools, and bench in an organic and rounding forms continues this soothing and freeing feeling. The white is contrasted against black wooden fencing with skinny and varying bushes in front of it. There is a medium sized bright round light on the concrete wall behind the fence that illuminates the courtyard in this blueish tone, representing the full moon and the atmosphere the full moon brings. Whilst also contrasting with the warm toned inside area it distinguishes the different areas and plays on the elements of the sun and moon.

These spaces are inspiring with the use of lighting to create dramatic effect on the mood but still work consistently together to create this calming and intimate space. The inspiration is obvious and reflected whilst still seem completely new and fresh. Draws you in and creates a space you want to stay in and repeatedly come back to.

ART

ANdy warhol’s factory Andy Warhol is a world renown artist, most famous for his pop art style seen in his pieces of works such as Campbell’s Soup Cans and his Marilyn Diptych. Coming to fame in the 60’s

and with

that came along his well-known Factory, in which he would hold parties for celebrities and models who he declared as “superstars”.

With this they would be coined the name or Warhol’s Superstars.

Andy also expanded his creative interest into film, photography, video, and television. He would use his factory at times to record or snap pictures from the parties to use in his creations. Whilst it was seen as a hot destination to be at, he also used this factory in New York to work on his new projects and art pieces.

It all started as an accident by Billy Name, Andy’s onetime

lover

and

regular

photographer

at

the

factory.

Billy had gotten high off amphetamines and decided to redecorate his apartment, which involved aluminium foil and spray paint. As Andy was heading over one day he was inspired by the idea, and asked Billy to recreate the look in his new factory.

A place that started out as a run in the mill factory, which Andy saw the appeal to due to its anonymous nature and the fact it was not alike to standard art studios of the time.

It had quickly become a work of art, with the walls, windows and ceiling being covered in foil further created this element of being hidden. Yet as the light reflects a distorted version of yourself you are directly faced to reflect on yourself and all that which is in the room., creating in itself a new world.

The place became the spot for creatives to go and be free to express themselves as they wish. This element is reflected in my design as I create a bar for creates to feel free and transcend the ordinary pressures of their everyday life

ART

KEITH HARRING Keith Haring was an American artist who found his way into the underground scene in the 80’s by noticing whilst on the subway there was these empty black rectangles of advertising panels, which he decided to “decorate” (or some might say vandalise, depending who’s side you’re on) with white chalk. This was not Haring’s first attempt at public art, he was not shy at expressing he political and social views with the world. With his subway art he had to be quick so he had a stock standard few drawings that he would change up to evoke the viewer to think deeper about issues going on at the time. This is where his iconic style started.

He created friendly images that with closer inspection could be interpreted something more sinister and serious, like oppression, nuclear weapons, and the abuse of power. The simplification and cartoony nature allowed Haring’s art to be viewed by all ages.

Haring was proud of his sexual orientation and incorporated that highly into his work. He was known to draw very erotic images in this same style that was very expressionist at the time.

There were movements about sex and same sex love, but it was all still emerging on the scene. For Haring to portray these images proudly and boldly in his works is fearless and commendable and one of the reasons he has inspired me with this project.

Haring did some incredible things such as before his passing away due to an aids related complication at 31 years old in 1990, he created the Keith Haring Foundation which supported children’s programs and created awareness in relation to aids. He was the artist behind “Crack is Wack” mural in New York’s Times Square. Haring did sell his are pieces but wanted his art to be more accessible. Due to this he created murals and he opened a retail store where he sold his designs on range of items such as t-shirts, and posters.

Keith Haring’s art influences my design with his amazingly daring and exciting element in his art works. With the use of bold graphic text that symbolises the essence of childlike fun and the bold and dramatic effect he portrayed with lines and simple colour palette that truly made a statement.

RESEARCH

Future of night clubs

hearing death knells well before the pandemic…the slow-building tsunami of disinterest in jam-packed clubs has swelled, and that lassitude finally crested in 2020. Hipsters and new money are now seeking more intimate lounges, bespoke experiences and upscale restaurants — leaving only the select few of eras past still interested in traditional nightclubs” implying that the general nightclub scene was heading this way prior to covid-19. Due to the pandemic, we

During the wake of covid-19 we can all relate to the despair and

have almost been forced to have more intimate outings and for

disappointment of our beloved nightclubs, pubs and entertainment

those turning eighteen in the pandemic wouldn’t even know what

spots shutting their lights off for the last time. Unbeknownst if or

they have been missing. And it is true there is an increase in young

when they will ever turn on again. As we delve into our second year

people that are just not that interesting in the jam packed, music

of the pandemic, tensions rising, and the stress of the unknown

chaos that traditional night clubs offer.

are becoming increasingly prevalent as days goes on. it’s clear that society is becoming excited and impatient for things to get back

G. Kimbrell also states that outdoor spaces will be more utilised,

to normal. But the question everyone begs to ask what is normal

especially when first starting to open up. As well as an increase

anymore? Will things be the same again? Or will we see a drastic

care and attention to the cleanliness of venues. Which ultimately is

change in the way we get that Friday arvo, clock off buzz?

a fantastic thing as I can’t tell you how poor I’ve seen some states nightclubs, especially the bathrooms have been in. On the other

Rolling Stone Author G. Kimbrell stated that the future of clubs

side we do have the other of people wanting to get back out there

will be more “intimate and curated” as he also states “from my

and mingle in jam packed crowded bars. There is something to that

perspective, a large portion of the nightlife ecosystem was already

atmosphere you that some people love and crave but getting there

could be a while yet. ABC News author McCarthy contrasts the new

are too impersonal”, “Going out creates anxiety”, “Safety and health

age outing with friends from the likes of “shaking up cocktails at home,

concerns”, “We are all too tired” with ages ranging from 19 – 33. With

ordering booze from an app, turning up Bluetooth speakers to listen to

O’Connell (2018) stating that 50% of millennials are said to have a side

a virtual DJ on Instagram live, maybe even while Zooming with friends”.

hustle there’s no doubt that people are busier and more tired these

And questioning weather that can “ever fully replace elbowing up to a

days. Instead of shouting over music, paying for overpriced drinks and

crowded bar, chatting up a bartender and everything else that comes

expensive taxi cabs or Ubers to and from nightclubs. People would

with a night out?”. They mention the topic of take away cocktails in the

rather spend their money on going places with good food possibly

streets. And maybe having takeaway options more readily available will

with live music, to catch up with friends and have more personal and

be a way forward for night clubs to increase their revenue. Will this mean

meaningful conversations.

the streets will be turned into pre drinking sessions? My opinion I doubt it, from the strict rules and characteristics of drunk Australians, I doubt

The overall consensus is that the night life culture hasn’t been what it

the government would encourage it in the streets. Although now the

used to be, and the breaking point was boiling up for a while, but with

rules have been loosened for public drinking who knows if it will ever go

that people still want face to face interaction. A combination of music

back to the same strictness as it was pre covid.

and intimacy seems like the future for clubs with only select few niche raging nightclubs that we might be used to. Having spaces less packed,

The Guardian article from 2016 by S. Marsh which talks about why

quieter music so you can hear those who you’re speaking too but still

millennials don’t go clubbing proves the scence has been dying for a

a place to drink, dance and mingle to let the worries of the week wash

few years now. The article consists mostly of responses from the public

away. Saying the nightclub scene is dead is false but night club owners

explaining why they don’t enjoy clubbing as much anymore. This article

will have to consider whether they can survive to cater to those who still

lists the main reasons people don’t enjoy clubbing as much these days

are looking for that traditional nightclub scene or whether they should

due to it being “too expensive”, “Clubs these days are rubbish”, “Clubs

consider a change to the experience and service to the customer to cater to this new era of clubbing.

RESEARCH

BAUX WOOD WOOL Wood wool is made from shredding timber, it has been used for over 200 years as a packaging fill to protect fragile items such as pottery in transportation. Wood wool was used vastly before the introduction of polystyrene.

It has now made a enormous come back globally due to the now know disastrous affects of using polystyrene and as we merge into a more sustainable and environmentally conscious world. More and more companies are opting for wood wool for packaging uses over plastic. Not only is it biodegradable compared to plastic but can be made from a whole piece of wood with no wastage but also can be made by using the unneeded leftovers in other wood and timber manufacturing.

The benefits of Baux’s Wood Wool Acoustic Panels is not just in the sustainability of the products but they deliver amazing sound absorption as seen in the graph below. The come in a range of sizes and colours that can be placed on walls, floors and ceilings.

Baux - wood wool acoustic The wood wool design of ’s Acoustic panels and tiles is truly evolutionary. With their dedication to sustainability and their ability to produce beautiful designs with endless possibilities is remarkable.

what is it made from? wood

Cement

water

The wood used is lFSC and PEFCTM certified pine and spruce from Swedish forests, situated right near the factory that manufactures the wood for this product.

The co2 omissions produced are 0,05 Kg co2 e per m2. This is due to its location which minimises transport and majority of the emissions is due to manufacturing process.

The wood element in this product provides, heat installation and sound absorption.

No waste is produced from the timber log.

The cement used is sourced from recognised world’s most sustainable cement factory, Cementa. The Cement is used as a binding agent but also provides strength, moisture resistance and fire protection. The cement production is responsible for creating 10,33 Kg co2 e per m2 but also captures -7,23 Kg co2 e per m2 of carbon. This factor contributes to the product in order to reduce its overall co2 emissions by 70%.

Lastly we have water. The use of water in this products allows for the rejection of toxic chemicals needed to be used. The hydrogen and oxygen compartments of water are vital for the longevity of the wood wool.

Benefits and uses

Moisture-regulating

Heat-accumulating

Fireproof

The materials combined create a moisture resistant effect which evens out the humidity of the air. By absorbing and emitting moisture into ambient air creating a pleasant indoor climate beneficial for both comfort and health. Due to the high pH levels this material is also able to prevent mold and rot.

The product is able to store ambient air heat and emit it back into the room when the air temperature drops to create a pleasant and consistent temperature through out. This also enables cost in energy and external heating devices to not be relied on. Generating lower emissions, lower energy usage and reduced impacts on the environment.

Thanks to the combination of materials used, this product is deemed to be fire resistant and is type-approved as a protective cladding with a class 1 coating.

Fire Saftey Rating AU & NZ - Standard 3837: Group 1

“Whenever we’re looking for new designs, products or materials, nature is always our first source of inspiration”

Benefits and uses

Low-emission

Recycling

esd principles

The Australian factory is already compensating for their emissions which brings their Co2 value to be 0.28 per m2.

The lowest compared to Baux’s other factories in Sweden and the USA, with Sweden on 4.42 per m2. and The USA on 9.12 per m2. In The USA they run on natural gas, while Sweden and Australia take advantage of renewable energy. Which is why the latter countries emissions are much lower.

In the manufacturing stage of the cement the outsourced company has created an advanced system for capturing Co2 ensuring that the emissions from the process of heating the limestone are absorbed and recaptured in porous stone materials The limestone in the cement of the product reverts to its original state when Co2 was collected and can carbonate up to 70% of Co2 during manufacturing.

The Wood Wool products can be dismantled and reused. Or they can be grounded down to be recycled as ballast and filling material, moisture absorbent sprinkling, substrate for running tracks etc. The Wood Wool Acoustic Panels can be deposited in nature with no negative environmental impacts. But in fact, supplies a calcium supplement. The composted product return safely to nature as a soil conditioner.

The cement in the product boosts oxygen levels during the composting process and CO2 from the air binds to the cement particles, calcium is formed (carbonation). The wood adds organic material to the compost. 80% of waste from wood wool production is used to heat the factory drying and plant.

No waste is produced from the timber log.

The Wood Wool Acoustic panel has received a compliant level from BREEAM international and a Pass from LEED v4

“We aim for climate neutrality”

REFERENCES A. Garrison, 2018, “ANDY WARHOL’S SILVER SPACESHIP, “THE FACTORY,” THAT LAUNCHED THE POP ART REVOLUTION” https://revolverwarholgallery.com/andy-warhols-silver-spaceship-factory-launched-pop-art-revolution/ Baux, n.d https://www.baux.com/acoustic-products/ G. Kimbrell, 2020, “4 Predictions for Nightlife After Covid-19” Viewed on 24 Sept 2021 https://www.rollingstone.com/culture-council/articles/predictions-nightlife-after-covid-1091856/ K. McCarthy, 2020, “How bar owners envision the future of nightlife after coronavirus” Viewed on 24 Sept 2021 https://abcnews.go.com/Business/future-bars-nightlife-covid-19/story?id=70616746 M. Skidmore, 2015, “Behind the Scenes at Andy Warhol’s Silver Factory” Viewed 20 Sept 2021 https://www.anothermag.com/art-photography/7826/behind-the-scenes-at-andy-warhols-silver-factory S. Marsh, 2020, “‘I’d rather chill in and relax’: why millennials don’t go clubbing” viewed 26 Sept 2021 https://www.theguardian.com/commentisfree/2016/mar/24/id-rather-chill-in-and-relax-why-millennials-dont-go-clubbing The point, n.d, <https://the-point.com/>